This Buddha's elongated body, well-defined waist, and thin facial features, as well as the elaboration of detail, exemplify the style of Pala sculpture of the early 10th century. Reliefs of this type, among the most common produced during the Pala period, were placed in niches in architectural monuments or shrines. This relief depicts Shakyamuni in the posture of meditation under a pipal tree (ficus religiosa). He sits on a lotus pedestal atop a base decorated with lions and other figures, his left hand in the gesture of meditation (dhyanamudra) and his right hand making the gesture of touching the earth (bhumisparshamudra). In Buddhist art, the earth-touching gesture is used to represent the story of Shakyamuni's defeat of the demon Mara. Because the forces of evil did not want the Buddha-to-be to become enlightened or lead the way for others, Mara tried to distract him from meditation by tempting him with beautiful women, pummeling him with natural forces, and attacking him with demon hordes. In response, Shakyamuni reached down to touch the ground, calling upon the earth to validate his quest. The earth responded thunderously and Mara was vanquished.

In this relief, the Buddha is attended by the bodhisattvas Avalokiteshvara and Maitreya, who stand to his right and left, respectively. The traditional Buddhist consecratory formula is inscribed around a lush halo that encircles Shakyamuni's head. Two stupas are shown to either side of this inscription, but the precise meaning of these stupas, which are found on other Pala-period pieces, remains elusive. One possibility is that they represent the existence of buddhas in past and future ages, signifying the endurance of Buddhism. The small female figure holding a pot at the base represents the earth goddess, while the accompanying male figure shown offering a flower garland to the Buddha portrays the donor of the artwork.